What Causes Leg And Arm Tiredness

stale fish Kędzierski

Igor Kedzierski, "translator of Czech literature, critic and essayist," - so says the biography - in the text "Happy horror and stale fish postmodernism", published on the Site Magazines number 00 describes the magazine "Positive." Dokopując sharply on the occasion of Wroclaw "format" and our " KF"! After all, you need to crush someone by the way - text swells.
My intention here is not a riposte stusunku to "Poztywu" to which, moreover, wrote of his time the two texts. I wish him the best, because the market for photographic publications (reasonable) should be rich, and so far each of the letters have a different character and describes other phenomena. And well, because it enriches the whole realm of photography.
Kedzierski wrote: "I just hope that they do not live to see another przegadanego, academic, involved letters salon habit 'Format' and 'Quarterly photo'. I hope that readers pass the test positive and to rely on good pictures of good quality and large format, without unnecessary soap interpretation and the interpretation of interpretations. "and proceed to discuss whether (interpretation?) for each presentation. I wonder what they might mean in the case of "KF" wording "wordy letter," "academic", and above all "the salon involved." It's idiotic plea for the magazine, which is open to all subjects - from theory, through the presentation and discussion of copyright pledge major events and texts on the history of photography and a special box to promote young artists. The phrase "salon involved" in advance defines the "KF" as the letter przeintelaktualizowane, hetrmetyzujące or even favoring any group. It is a pity that my dear critic and essayist has not given up more clearly, because I do not in any way I can find in our affairs such characteristics. The only thing that interests us, is a photograph of other new contributors who are beyond the visual layer ("I watched the pictures, apart from the texts, which are frequently pulled up tight upoconą flanks. But do not bother me, once that there is always contained some information about the author, after which you can was necessary to reach, two, that there were not many - is predominant visual material. "- the words of a former Kędzierski" Positive "), smuggle more and more new ideas and open new paths of modern photography, which is constantly evolving. Thought is an indispensable part of the photograph, and the lyrics only help to find her. Moreover, not once in the pages of the quarterly skirmish took place text writers for us, which proves the openness rather an exchange of views, rather than to lobowaniu for either party.
At the end of arguments sent Igor Kedzierski dramatic appeal, stirring wszytsko already "Therefore, dear readers, especially those of you who feel the minority: Get involved and defend this phenomenal statement devoid of taste before the majority, hardware fetishists, photographers domestic creatures (especially fish), dendrologami (passionate photographers trees, as Paul calls them Golec) postmodernistami, politicians PIS-u, radiomaryjną youth and, most importantly, the pressures of large capital ...". Capital publisher, too?

Digital Playground Dvd Land

Eva Rubinstein Jan Krugier Gallery / Eva Rubinstein at the Jan Krugier Gallery

so happens that almost at the same time, when Jan Krugier Gallery on Madison Avenue in New York (03/03/2008, at. 18.00-20.00) will open an exhibition Elegies Eva Rubinstein, to sale is the latest issue of "Quarterly photo" in which I write ( Photographic dialogues Eva Rubinstein ) portrait of her project, which was created in 1975 at Ploesti in Romania during the course of American photography exhibition . Portraits in the majority were not previously published. The photographs of Eva
Rubinstien I wrote earlier, and repeatedly told on various occasions. It is hard to be different, because this photo every time makes me a whole lot of positive (only) of associations and emotions. To this day, also do not know where it moving so much freedom and straightforwardness. This is probably the effect of entry into the world of photography with a fully formed personality - the beginning of the shooting is the year 1967 and the end came in 1990, when Eva Rubinstein, she realized that "no longer see" (photographically). It is probably also affected the environment of New York and study with Lissete model who has also studied Diane Arbus - it is worth noting that the only "official" portrait of Arbus posted in her biography (Patricia Bosworth, Diane Arbus , Biography , WAB, Warsaw, 2006) was made just by Rubinstein. Model instill his students that an artist can do anything. That the world and man is the material that the artist can freely manipulate. Eva Rubinstein never wanted to agree with this approach, because for her man is always a paramount value.
in 2003 in one of her letters Eva Rubinstein wrote me this short story: "Once while doing some exhibitions, someone asked 'how is it that you take pictures around the world, but the pictures look like they were made in the same place? " I replied that I was done in the same place and pointed to my solar plexus. " Is not it simple?

Eva Rubinstein, Pepe's shirt, Spain 1973

It makes up that almost at the same time When the exhibition of Eva Rubinstein will be open (the opening 03/03/2008) at Jan Krugier Gallery on Madison Avenue in New York, the newest issue of "Quarterly Photography" will publicize, where I write ( Eva Rubinstein's photographic dialogues) about her portrait project which came into existence in Ploesti in Romania in 1975 during the exhibition American Photography . The portraits mostly were not published earlier. About Eva Rubinstein’s photographs I used to write earlier, and many times I told by the chance of different occasions. It is difficult it would be in a different way because every time this photography wakes in me the whole accumulation of positive (only) couplings and emotions. Till now I do not know from where so much freedom and motive straightforwardness in it. I guess it is the effect of coming in the world of photography as a fully shaped personality - the beginning of photographing it is 1967 and the end came in 1990, when Eva Rubinstein realized that she „stopped to see” (photographically). these are for sure influences of New York circles and studies at Lissete Model, where Daine Arbus studied as well-it is worth to mark out that the only one „official” portrait of Arbus placed in her biography (Patricia Bosworth, Diane Arbus, Biography , Publishing House WAB, Warsaw 2006) was taken by Rubinstein. Model inculcated to her students that an artist can everything. That the world and man are material, which the artist can freely treat. Eva Rubinstein never wanted to agree with such attitude, because for her the man is always the overriding value.
In 2003 in one of letters Eva Rubinstein wrote me such a short story: „Once during some exhibition someone asked me ‘How is it that you take photographs on the whole world, but as photographs seem Taken at the same place? " I Answered That they were Taken at the same place and I Pointed to my solar plexus. " Is not it beautiful?

Where To Buy Big Bmx Ramps

Mission of September? DESY Report

past two months have proved to be time researching new paths and new topics. Once again, it appeared that the farther from home, the harder it was to find something interesting. Perhaps, therefore, assign a photo to the site (not necessarily strictly) has some justification - in most texts, which relate to what I do, the authors point out the name of the family city. So the photo from September and Wrzesnia. Is it limited? I do not think, because once again I feel that the search for new paths proved to be fruitful, so this photo polygon is not yet exploited fully. I do not wyeksploatował the end of me. Except that this time it is you did in the open space, although the interior still arise and will arise. But this is a subject that will appear until early 2009. Exactly where and when? I do not know it yet.
So far I did not know how much such an approach is close to this, which initially dealt with the British documentary, Jem Southam as if Paul Graham, the direct heirs of the ideas described a moment ago Tony Ray-Jones. Until now I had a chance to see their work once the exhibition Documentary Dilemmas. Aspects of British Documentary Photography 1983-1993 prepared by The British Council and the displayed in Poland in 1995. Even then, the photo effect on me heavily, but did not yet understand why.
Of course, by no means do I compare my work with implementations Southama and Graham - is a different scale, a different reality (very important) and different style. However, the common (and very) seem to me to seek around town, so it's best-known reality. This is particularly important especially in the case of work Southama - incidentally, a photographer almost completely unknown in Poland, though it just me, not particularly surprising, because hardly anyone is still committed to the recording of 'banal' everyday life and such places. Much better known for Graham, especially its series Troubled Land: The Social Landscape of Northern Ireland from the mid-80th years, showing a minor, albeit a very persistent traces of Ireland's political struggles. When at last year's Month of Photography in Krakow during the panel discussion with British photographers and Mark Power, curator Theatres of War (Luc Delahaye, Christopher Stewart, Donovan Wylie, Geert van Kesteren and Lisa Barnard), I asked a question about the source of the phenomenon of British document, I received a reply that this is due to the lush history of Britain. But I think that not only - the awareness of photographers may have it prevail.

Irene Zjeżdżałka, September, 2007

Multiviewer Easycap Blog

Yesterday DESA Unicum market analysis sent to auction in Poland, limited to 5 years and 10 of the most expensive sold the work, so based on the record the transactions and is thus not giving a full picture of the market situation. Throughout the statement of photography is definitely the least, but it is, and as reported by DESA, "photo, which only a relatively short time are devoted to exclusive listings, slowly but consistently starts to sell better." Sounds promising, but we must remember that the entry of photographs on the art market will continue for a few years.
The report shows that the most expensive photograph sold in 2007 was Portrait of Stanislaw Ignacy Witkiewicz, auctioned off in Rempexie (10/24/2007) as 21,000 zł and the highest price in 2003-2007 received job The collapse to a lamp. Self-Portrait the same artist, which was sold for 135,000 zł (Polswiss Art, 09/25/2003.) Set of 16 black-and-white photographs Collection-System Zbigniew Dłubak sold in Rempexie (28/11/2007) for 20.000 zł, a work from 2004 I'm telling you a secret Richard Waśko as 11,000 zł (Agra Art, 15.04 .2007). Given the high price obtained for the work of art in the last 5 years - Joseph Chełmoński, attempt four, the amount of 1,580,000 zł - it is clear that the price of the best photographs sold represents approximately 8% of the price of that image.
should be remembered that good photographs of interesting contemporary authors on the auction can be purchased now for about 1000 zł, which is a fraction of the values \u200b\u200bobtained for contemporary painting. DESY
The report also presents the percentage of the total value of 10 most expensive objects sold in 2007 - a photograph is 1% of the total. I wonder how it looks, therefore, the market share of photography in general, despite record deals? probably share it looks like.

Stanislaw Ignacy Witkiewicz, Portrait , the beginning of the twentieth century

Funny Program/skit For Wedding Reception

Sincerity photography? Blog of the Year 2007

few days ago I went to the previously announced sale of the book Christopher Jurecki search for the meaning of photography. Conversations about art, containing 20 interviews with Polish photographers. Among the callers was also the author of this blog - I put the following fragment of the conversation, on the issue of honesty in photography, and so one of the fundamental values \u200b\u200bthat should guide the developers in the process of being implemented. At least I'm trying to follow it ...
A book can be purchased including here, here or here.

KJ: Asking about the limits of the document I have in mind also, and perhaps above all, ethical limits.
Me: Photo must be accompanied by absolute honesty. Do not interfere with reality, and her only symptom should be our choice. It seems to me that any staging or processing, by its very nature contradict the notion of a document and bring to these photographs unnecessary chaos.
This is a very radical statement, and the cardinal, but how feasible? In landscape photography, yes, but shooting people in the situation, as in Salgado, very hard!
course it is very difficult, because so few have the good of this type, also in the reportage. I think the obstacle is first and foremost a lack of determination and humility of photographers - it is hard to deal with the subject over a long period of time, and the effects of this work to wait even a few years ... You can not treat human subjects. Attitudes that can meet these requirements is unfortunately rare.
Sebastiao Salgado said that the moral content is more important than the form of photos, how to comment on?
I think that morality is one of the elementary values \u200b\u200bnot just in photography but in our lives. You can not live in harmony with yourself and stay at the same time in a hypocrisy. In this condition, we can not do candid photos. It is like using fake words. The form and is the secondary, in the end to go through life with dignity is not enough to look good.

What Does It Mean If My Mole Hurts

With the voices of which I thank you, "The Natural" reached the top ten in the second contest in the category stege "Culture" (finished it on the spot 9), from which the jury has nominated three blogs. Of course, "process" in the top three not found - higher rated video games ... Thus, our participation in the competition ended. Enjoys the fact that the nomination " ArtBaazar " blog about the art market and more. I keep my fingers crossed for them!

Story Women Ottawa Wax Men

Tony Ray-Jones

At every opportunity, I try to talk about what photography seems to me most important, though usually not enough for others to understand. This is no great discovery, but more often I get the confirmation my understanding of photography. That is, not necessarily wrong, but I can not say for sure I was right - it will show the time, perhaps. In his own photographs, I try to talk about the mentality, not shown directly, not in a literal way and thus brought back to the aesthetics. It seems to me that the record of the spiritual condition of Polish society is the most important. The book
Tony Ray-Jones by Russell Roberts we got today, contains a fragment of English speech for the documentary "Creative Camera" (1968):
"My goal is to tell something with the spirit and mentality of the British, their habits and life path of irony, which do different things, partly by tradition and partly by the nature of their environment. For me, the 'English way of life' is something very special and rather humorous, as I write from my particular point of view, before it becomes more Americanized. We are a very important stage in our history, in terms of reducing the prison island, or spirituality and, as noted by De Gauile, left naked. " Ray-Jones returned from the USA, where he studied with Alexey Brodovitcha, realized how very quickly realize that you need to deal with the English customs and present it in context, because the quality turned out to be a myth. In another speech would deal ruthlessly with the area of \u200b\u200bcommercial photography: "(...) For me, photography is an exciting and personal way to respond to their environment, and I regret that many people do not treat photography as a means of self-expression, preferring to sell their extensive commercial world of journalism and advertising ". How it fits perfectly in the situation of admiration for the World Press Photo ...
work of Tony Ray-Jones is without a doubt one of the most interesting and important ways set out in the history of photography.

Imagenes D Trasvesti.com

Santa Bardo

The Bardo last year, the devil appeared. As reported, "Wrzesinski News" (Damian Idzikowski, Devil in the Bardo, WW, 05/11/2007) "(...) was small and stooped, had long arms, a flat face and a terrible three fingers. On Tuesday, Shiite already organized - more than a dozen mostly young people (including the curious visitors), armed with three hole punch, swam in the area of \u200b\u200bvisitation. And that's seen the devil. Priest Stanislaw Dubiel not want to comment on this, even jokingly. 88-year-old Marian Mężyński, who still oversees the family mill, laughingly denies that the devil was working with him. But the children were ready to show the Bard even the den of Satan. A group of boys led us to a dilapidated barn PGR, where democracy has worked in the company of Santa. "
Eventually it became clear that all allegations of the antichrist is a pic of the water, but the barn still exist today, although their condition does not announce that it would take a long time. State Farms, once a source of pride government and jobs for hundreds of people are facing today is usually devastated. This is the result of neglect, changes in the market after 1989, but probably and mentality, because I find it hard to understand in what stands out all the windows in buildings, farms, or completely demolishing the entire interior of their equipment. While I can understand the frustration - in the vicinity of the farms were built blocks of flats for their employees, now full of unemployed people - so much the way it is already showing less. But through the devastation does not improve labor market in the Bardo, and Gozdowo Bieganowie ...
farm in Barda, however, has a little more luck, because it is hidden behind the church and dense trees. Maybe because they are windows in the buildings, though not necessarily complete, the plaster still stuck electrics (złomiarze are her first), and on the floor rot kg flyers in packs of spices with the image of Kuron, cook - it's trace with the new period, Santa said to always when there magazines. Soltys
Bard, Leszek Stawicki (article in "WW") does not believe in the devil: "You better take care of those crumbling buildings, and not someone's dumb jokes."

Irene Zjeżdżałka, Bardo, 2007

Does Clothecity Sell Authentic Shoes?

World Press Photo 2007

Since yesterday, the world once again excites a new installment of the World Press Photo contest, where you can watch the "world's best shots." This because the formula upatrzyły the media and pat it every year. Without a doubt, a professional press photographer for the award of WPP is a matter of great prestige and recognition, even longer from the mere fact that the edition of 2007 sent more than 80,000 photographs, so finding a group of winners is not easy. Personally can not stand, at least for several years, the formula of the competition - indeed increasingly, it seems to me predictable. And not just when watching about on TV (you can then pick out the very considerable probability that subjects will be addressed in the WPP), because the aesthetic canons of certain issues seem to dominate. Koenig King in "Gazeta Wyborcza" ( Interview with Stephen Mayes, secretary of the jury of World Press Photo , GW, 02/09/2008) asked the question: "Photo of the Year is different from those that winning the previous editions. Tim Hetherington's photo does not represent strong emotions: pain, fear, anger. Is this choice is an attempt to break the current trends? ". It sounds interesting, but whether he actually does not show strong emotions? And is it really an American soldier in a bunker, it just fatigue, as suggested in an interview the secretary of the jury? Finally, a picture of the war - the most dramatic and deadly events ... Mayes says, "Hetherington's photo carries a metaphor. When I look at them, I see a man whose back fatigue limits. It is finished. Like all soldiers involved in this war. " Chained themselves quickly and found the earlier editions that picture does not break the trend of year, but pretty good at not enter. Just mention the even photographs of Yuri Kozyrev of Russia (first prize in the category "message - a single image", 2000 edition), Thomas Dworzak report from Germany (first prize in the category of "events - report", in the edition of 2001 - I am thinking mainly portrait of a wounded Chechen fighter in Alkhan-Kala) and Luca Delahaye'az France (first prize in the category "message - a single image", edition 2002). Interestingly, all these works, along with this year's winning photo by Tim Hetherington (incidentally, just pretty good), formed in areas of conflict in Afghanistan and Chechenya, so can specific gray light, and thus a blurring of all these photographs? What is certified? The depletion of the formula and the emergence of the dominant aesthetic canons, which cumulates annually WPP, as well as topics (how many times we watch the wrestlers from India or Ghana?). And there is nothing surprising in this - certainly not going to deny that, because the same thing has happened for example in circulation galeryjnym or art fairs. In 2005, Artforum Berlin, photography was, in addition to painting, Probably the most common medium, and about 40% of all photographic presentation was not related to the aesthetics worked out by artists from Scandinavia. Only a lack of freshness for me is already heavily tedious ... The aesthetic canons of the contest also says awards in this edition of WPP Raphael Milach (by the way congratulations!) In an interview with Beata Skate ( more poetry and two Poles , GW, 09/02/2008), who notes that his "reportage" (for me it is rather a series of portraits) of retired cyrkowcach "part of a trend that popped up (and really existed before - editor. My ) this year for WPP. Materials distinguished intimate, poetic (...)". Miles sums it up thus: "You have to be reconciled with the fact that everything has been photographed and it's time to answer the question, how do I interpret a topic to interest viewers." Leaving aside the question that the world is so dynamic that it is difficult to keep up with him, let alone to photograph everything, worrying it seemed the last sentence. Because if the photograph was a surprise the audience should walk?

Tim Hetherington, UK for Vanity Fair - an American soldier in the Restrepo bunker, Korengal Valley in eastern Afghanistan, 16.09.2007